Six years ago, I wrote a composition about the state of indigenous music in the academy with an accompanying research paper. In this work, I attempted to trace the presence of indigenous music in the institution both musically and through an anti-colonial lens. The writing was structured around three musical snapshots entitled Subjugation, Cognitive Dissonance, and Recognition that represented what I saw as the present and future trajectory of indigenous musical knowledges in the academy. The accompanying paper wrestled theoretically with the same concepts the music represented. At the time, I was ambivalent about the work, but did not have a sophisticated enough theoretical understanding to articulate the reasons. Presently, I better understand my discomfort with the work. In this paper, I reflect on my binary thinking of six years ago, the changes in my thinking, the reasons for those changes, and my analysis of these issues presently.